Charles Gore

Charles Gore (1853-1932) was successively bishop of Worcester, Birmingham and Oxford, and a leading figure in the Christian Social Union, founded by Scott Holland in 1889. Although he ackowledged his debt to Maurice, Gore always said that his passion for social justice dated from a tour of the slums of Oxfordshire he was given by the trade union leader Joseph Arch. His socialism was cautious -- he indicated that he would probably prefer to stop somewhere this side of full-fledged socialism, but always added that we have a very long way to go before we get there.

Charles Gore (1853-1932) was successively bishop of Worcester, Birmingham and Oxford, and a leading figure in the Christian Social Union, founded by Scott Holland in 1889. Although he ackowledged his debt to Maurice, Gore always said that his passion for social justice dated from a tour of the slums of Oxfordshire he was given by the trade union leader Joseph Arch. His socialism was cautious -- he indicated that he would probably prefer to stop somewhere this side of full-fledged socialism, but always added that we have a very long way to go before we get there.

Charles Gore (1853-1932) was successively bishop of Worcester, Birmingham and Oxford, and a leading figure in the Christian Social Union, founded by Scott Holland in 1889. Although he ackowledged his debt to Maurice, Gore always said that his passion for social justice dated from a tour of the slums of Oxfordshire he was given by the trade union leader Joseph Arch. His socialism was cautious -- he indicated that he would probably prefer to stop somewhere this side of full-fledged socialism, but always added that we have a very long way to go before we get there.

This book explores the roles of contemporary urban shrines and their visual traditions in Benin City. It focuses on the charismatic priests and priestesses who are possessed by a pantheon of deities, the communities of devotees, and the artists who make artifacts for their shrines. The visual arts are part of a wider configuration of practices that include song, dance, possession and healing. These practices provide the means for exploring the relationships of the visual to both the verbal and performance arts that feature at these shrines. The analysis in this book raises fundamental questions about how the art of Benin, and non-Western art histories more generally, are understood. The book throws critical light on the taken-for-granted assumptions which underpin current interpretations and presents an original and revisionist account of Benin art history.